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Both Charles Brockden Brown’s novel, “Edgae Huntly”, and Martin Scorcese’s flim,” Taxi Driver”, have been describe as revisionist (i.e., critical) versions of American frontier mythology (or, in Slotkin’s term, “regeneration through violence”). Attending to the the historical and generic differences between an early American novel and a late twentieth-century flim, explore how these works revise said mythology, as define by by Slotkin (and/or Barnard and Shapiro)
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